Liceo de Cagayan University School of Graduate Studies Page 1

FACTORS INFLUENCING PARTICIPATION AND COMMITMENT

TO YOUTH COMMUNITY MUSIC ENSEMBLES

ANN K. MANIEGO

APRIL 2022
Liceo de Cagayan University School of Graduate Studies Page 1

FACTORS INFLUENCING PARTICIPATION AND COMMITMENT

TO YOUTH COMMUNITY MUSIC ENSEMBLES

A Thesis
Presented to the
Faculty of the School of Graduate Studies
Liceo de Cagayan University
Cagayan de Oro City

In Partial Fulfillment
of the Requirements for the Degree
Master in Music
Major in Music Education

ANN K. MANIEGO

APRIL 2022
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APPROVAL SHEET

“FACTORS INFLUENCING PARTICIPATION AND COMMITMENT TO

This thesis entitled “……………………………………………………..............................
YOUTH COMMUNITY MUSIC ENSEMBLES” in partial fulfillment of the requirements for
………………………………………………,
Master in Music
the degree ………………………..major Music………….,
in…… Education prepared and submitted by….

ANN K. MANIEGO
…………………………………………….has been examined, accepted and recommended
for Oral Examination.

TERESITA T. TUMAPON, PhD

Adviser

PANEL OF EXAMINERS

Master in Music
APPROVED in partial fulfillment of the requirements for the degree…………………..
Music Education
major in……………………………… by the Panel of Examiners with a grade of

DR. ROSELLA O. ORTIZ

Chairman

DR. NENITA I. PRADO MR. MICHAEL JHUN P. PACEÑO, M.M.

Member Member

Comprehensive Examination: .

Dean, School of Graduate Studies

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Certificate of Originality

I hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by another
person nor material to which to a substantial extent has been accepted for award of any other
degree or diploma of a university or other institute of higher learning, except where due
acknowledgement is made in the text.

I also declare that the intellectual content of this thesis is the product of my work,
even though I may have received assistance from others on style, presentation and language
expression.

ANN K. MANIEGO

Signature of advisee over printed name Date

TERESITA T. TUMAPON, PhD

Signature of advisor over printed name Date

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GRAMMARLY TEST REPORT

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PLAGIARISM DETECTOR REPORT

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ENGLISH WRITING READABILITY

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English Editing Certification Form

This is to certify that I have edited this thesis manuscript entitled

FACTORS INFLUENCING PARTICIPATION AND COMMITMENT

TO YOUTH COMMUNITY MUSIC ENSEMBLES

Prepared by

Ann K. Maniego

and have found it thorough and acceptable with respect to grammar and composition.

Signature over printed name

Date
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DEDICATION

I dedicate this work to my family:

my husband Gary,

our fruits of love:

Ghislaine, Berenice and Gian

who have been my source of strength and inspiration,

to Kiamco family:
my siblings Ate Ian and my younger sister Nel and their families
for their advices and all kinds of support on my journey in this study.

most especially to my parents in heaven

Dr. Anelda S. Kiamco and Engr. Isidro S. Kiamco

for their greatest love, financial support and advices

To all my music mentors, especially to my adviser Dr. Teresita T. Tumapon

for inspiring me to realize this study and even make more like this.

and most especially to our God Almighty, my source of spiritual strength

who have graced every step of the way to get this study accomplished.
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ACKNOWLEDGMENT

I would like to acknowledge and give my warmest thanks to my thesis adviser Dr.
Teresita T. Tumapon for providing guidance, knowledge, and inspiration. To my colleagues
in CMU Department of Physical Education for their moral support especially to Ms. Genifer
C. Ramoso who have shared helpful knowledge for this study.
Big thanks to my sisters Ate Ian and Nel for providing me a comfortable place to stay
and for sharing their blessings during my Masters study.
I would also like to give special thanks to the music experts Ms. Virgina S. Aspera
and Denis Alo for their help with validating and improving my questionnaire. A big thank
you to the current administration of Central Mindanao University for granting my request to
give me time to finish this final thesis manuscript. To my direct supervisor/chairperson of the
PE Department Prof. Sherille Love B. Asequia and our College Dean Dr. Gladys S. Escarlos
for being supportive of my endeavors for professional growth.
Most specially to both of my loving parents Dr. Anelda Sincero Kiamco and Engr.
Isidro Delos Santos Kiamco who are both now in heaven, who have shared all their love and
support of my passion in art and music and insisted on supporting me financially to pursue
this masters study. I could have never reached this far if not for them.
Finally, I would like to acknowledge our Almighty God for gracing me with
perseverance, courage and hope despite all sorts of challenges and for providing me spiritual
guidance, strength, and blessings.
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ABSTRACT

Among music ensemble groups, participation and commitment are issues faced affect
the sustainability of the ensemble. Whether an ensemble belongs to a small or big
community, equipped or less equipped, members’ participation and commitment still hold
the key to sustaining the music ensemble groups. This study focused on determining the
factors that influence participation and commitment to youth community music ensembles
utilizing a non-experimental quantitative descriptive correlational study among sociocultural
factors, personal factors, and moderating variables.
The study revealed that among sociocultural factors – ensemble trainer attributes
showed the highest level among participant respondents survey with the level of “very high,”
and the other elements with the level of influence “high.” As with the personal aspects, an
effect of “moderate level” was shown with music skills, while the rest of the individual
factors resulted “high level” of power. In the case of moderating variables, a “very high”
level of impact was revealed on the ensemble-member relationship and environment. In
contrast, other factors under the moderating variables have all shown results of a “high level”
of power.
This study has disproved all hypotheses. The results showing a “high level” of
participation and a “very high” level of commitment indicate a significant relationship to
sociocultural and personal factors.

Keywords: (Music, ensemble, participation, commitment, performance)

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TABLE OF CONTENTS

Page

COVER PAGE i

TITLE PAGE ii

APPROVAL SHEET iii

CERTIFICATE OF ORIGINALITY iv

GRAMMARLY TEST REPORT v

PLAGIARISM DETECTOR REPORT vi

ENGLISH WRITING READABILITY vii

ENGLISH EDITING CERTIFICATION FORM viii

DEDICATION ix

ACKNOWLEDGMENT x

ABSTRACT xi

TABLE OF CONTENTS xii

LIST OF TABLES xv

LIST OF FIGURES xvi

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Chapter

1 THE PROBLEM AND ITS SCOPE 1

Introduction 1

Theoretical and Conceptual Framework 2

Statement of the Problem 5

Hypothesis/Assumption 5

Significance of the Study 5

Scope and Delimitation 6

Definition of Terms 6

2 REVIEW OF RELATED LITERATURE AND STUDIES 9

3 METHODOLOGY 23

Research Setting 23

Research Design 24

Respondents and Sampling Procedure 24

Research Instruments 25

Validity and Reliability of the Instruments 26

Research Protocol 27

Data Gathering Procedure 27

Statistical Techniques 27
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4 PRESENTATION, ANALYSIS AND

INTERPRETATION OF DATA 29

Problem 1 29

Problem 2 30

Problem 3 31

Problem 4 33

Problem 5 35

Problem 6 36

5 SUMMARY, CONCLUSION & RECOMMENDATIONS 37

Summary 37

Conclusions 38

Recommendations 39

REFERENCES 41

APPENDICES 47

A. Letter of Consent 47

B. Letter of Approval 51

C. Survey Questionnaires/Laboratory Results/ Diagnostic Results 54

D. Participant Respondent’s Demographic Profile 62

E. Curriculum Vitae 65
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LIST OF TABLES

TABLE TITLE PAGE

1 Sample Size of Participants 24

2 Components of the Research Instrument 24

3 Likert Scale Responses and Interpretations used in this study 25

4 Respondent’s level of influence by Sociocultural factors 28

5 Respondent’s level of influence by Personal factor 29

6 Respondent’s level of influence by external events, forces and

climates to intrinsic motivators (personal factors) and extrinsic

motivators (socio-cultural factors) 30

7 Respondent’s level of participation 32

8 Respondent’s level of commitment 33

9 Significance on the relationship between participation and

commitment to socio-cultural and personal factors 34

10 Significance of the influencers(Sociocultural and Personal 35

factors) to participation and commitment

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LIST OF FIGURES

FIGURE TITLE PAGE

1 Schematic Presentation Showing the Interplay of Variables in the Study 4

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Chapter 1

THE PROBLEM AND ITS SCOPE

Introduction

Youth community music ensembles of present generation, whether in school, out of

school, or church setting, face participation and commitment issues. In the study (Rohwer,

2010), attendance as a form of participation in the ensemble was cited as top among several

topics. The most common existing youth community ensembles are choirs, stage bands,

symphonic bands, brass bands, rondalla, vocal quartet ensembles, various string ensembles,

and ethnic ensembles among lumad communities. The member population of each of these

youth community music ensembles may sometimes increase or decrease depending on

individual members’ reasons or other factors. (Kokotsaki et al, 2011) cited in their study,

disheartened and overburdened participants in their music-making resulted in reduced

perceived ability, lack of enjoyment, and withdrawal from the group. (Mantie, 2013),

presented in his study the reasons why university students participate in music ensembles.

One of the reasons is due to seeking out the kind of organized musical activities they

enjoyed during school years. The life stage in higher education is a great opportunity for

continuing practicing music-making.

With the researcher’s lived experience of witnessing the rising and dropping of

ensemble member population in school, the experience led the researcher to conduct this

study. It’s about time to find out and understand what makes the youth participate and
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commit to music ensembles. Find reasons why some costumes stay together and keep playing

for years while others diminish.

Despite the favorable ensemble environments and attractive scholarship incentives

offered by churches, schools, or local communities, issues of members’ commitment and

member’s dropping out are still happening. In the study by (Evans, et al. 2013) they stated

reasons students stopped learning music: some students engaged in music activities had

strong feelings of needs inhibition – feelings of incompetence, undesirable social outcomes,

and pressure – that outweighed fulfilling experiences of competence, relatedness, and

autonomy. Considering additional family and work commitments, time pressures, and life

changes are cited reasons to give up similar activities, such as online learning (Jun, 2005),

and sports (Lunn, Kelly & Fitzpatrick, 2013).

Theoretical Framework

This study is anchored on theories relating to the subject of this study. Relevant to

this research are Sociocultural Theory and Self Determination Theory. (Barret, 2005)

discussed from a socio-cultural perspective the musical communication and children’s

community of music practice. She, too, has elaborated in her study on how Vygotsky’s

version of socio-cultural theory became most influential. Self Determination Theory by Ng,

et al. (2012) is a metatheory about human motivation and personality development that helps

understand human reason and function. With the central humanistic assumption that

individuals naturally and actively drive themselves towards growth and self-organization. It
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is believed that people strive to explore and understand themselves through integrating their

new experiences, humanizing their needs, desires, and interest, and connecting with others.

Conceptual Framework

There are several positive effects of ensemble participation on the musical and social

development of ensemble members. The positive effects can be enumerated as follows:

making the best memories of making music together, peer teaching each other, developing

team skills, learning to listen and communicate non verbally, learning balance, intonation,

rhythm and performance etiquettes as a group, as well as developing the total social and well-

being of the member in general. (Kokotsaki, 2007) recommends music educators to

encourage students to participate in musical ensembles by arranging them in small

performing groups as often as possible.

Due to participation and commitment issues in music ensembles at present, the

conceptual framework was developed.

The independent variables consist of two major factions of factors. The first factor is,

the sociocultural factors, and the second, is the personal aspects. The sociocultural factors

are: religious beliefs/practices, family music culture, peer influence, Ensemble trainer

attributes, and resources. At the same time, the individual factors consist of music skills,

interest, enjoyment, music goals, and self-efficacy. Both aspects shall be tested to determine

the levels of influence and the levels of participation and commitment. And that at the end of
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the study, it is hoped to give beneficial information to future ensemble-related works and

endeavors.

Figure 1. shows the schematic presentation showing the interplay of variables in the study. It
is assumed that the sociocultural factors(extrinsic motivators) and personal factors (intrinsic
motivators) influence the youth’s participation and commitment to youth community music
ensembles.

Independent Variables Dependent Variables

Sociocultural factors
(Extrinsic motivators)
 Religious beliefs/practices
 Family Music culture
 Peer Influence
 Ensemble Trainer Attributes
 Resources (music instruments)
Participation
and
Commitment
to
Youth Community Music
Personal factors Ensembles
(Intrinsic Motivators)
 Music Skills
(Competence)
 Interest
 Enjoyment
 Music Goals
(Relatedness)
 Self Efficacy (Autonomy)

Moderating Variables

 Ensemble member relationship and environment

 Ensemble member and repertoire
 Ensemble Trainer teaching style and management

Figure 1. Schematic Presentation Showing the Interplay of Variables in the Study

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Statement of the Problem

1. What is the level of influence of sociological factors on participant respondents?

2. What is the level of influence of personal factors on participant respondents?

3. What are the external events, forces, and climates that moderate the intrinsic and extrinsic
motivators?
4. What is the level of Participation and Commitment of participants?

5. Is there a significant relationship among variables in the study?

6. Which variable/s predicts best participation and commitment?

Null hypotheses

1. Participants’ music participation and commitment have no significant relationship to

socio-cultural and personal factors.

2. Music skills, interest, music goals, self-efficacy, Religious beliefs/ practices, Family
Music culture, Peer Influence, Ensemble Trainer Attributes, and Resources (music
instruments) have no significant relationship to participation and commitment to the youth
community music ensembles.

Significance of the Study

As this study seeks to confirm factors that influence participation and commitment to

youth community music ensembles, the findings of this study could help communities with
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existing youth music ensembles reprogram their current system to encourage more

committed involvement.

Scope and Limitations of the Study

This study is conducted within the Colleges of Central Mindanao University,

Musuan, Bukidnon. These were the nine (9) colleges involved: College of Arts and Sciences,

College of Education, College of Engineering, College of Veterinary Medicine, College of

Agriculture, College of Forestry and Environmental Science, College of Human Ecology,

and College of Nursing. The respondents of this study will be the representative ensemble

groups of the above colleges having existing ensemble groups and the university

sociocultural scholars, namely the CMU Music Society and CMU Bidlisiw Ensemble. This

topic of interest is limited only to the area of Central Mindanao University while the

COVID19 pandemic continues. Part of this study determined the age, gender, music skills,

music goals, interest, self-efficacy, religious beliefs/practices, family music culture, peer

influence, ensemble trainer attributes, and resources (music instruments) and the moderating

factors of the participant respondents.

Definition of Terms

The following terms were operationally defined to achieve a better understanding of

the study:

Band and Lyre. A marching band consisting of drums and lyre.

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Choir. A group of singers perform together either in unison or, much more usually, in

parts.

Ensemble Trainer. A musically trained individual who teaches and guides members

on the ensemble repertoire.

Enjoyment. The state or process of taking pleasure in something.

Family music culture. Standard music practices in the family.

Interest. The state of wanting to know or learn about something or someone.

Music ensemble. A vocal or instrumental musical group.

Music Goals. The object of a person's ambition or effort; an aim or desired result in
terms of music.
Music Skill. The ability to understand music, and, or the ability to produce music.
Peer Influence. It is defined as instances where one person affects, or is affected by,
one or numerous others similar in age.
Personal factors. Qualitative characteristics of a person.
Pitch Perfect. A title of a movie featuring show choir culture.

Religious belief. It is the idea in the reality of the mythological, supernatural, or

spiritual aspects of a religion.

Resources. A stock or supply of money, materials, staff, and assets can be drawn on

by a person or organization to function effectively.

Self-efficacy. Refers to an individual's belief in their capacity to execute behaviors

necessary to produce specific performance attainments (Bandura, 1977, 1986, 1997).

String Group Ensemble. A music group consisting solely of stringed instruments.

Sociocultural Factors. is a term related to social and cultural factors, which

means common traditions, habits, patterns, and beliefs present in a population group.
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Stage band. A Band for backing singers or performers on stage. The rhythm section
may include any keyboard, an electric or an acoustic guitar, an electric or acoustic bass, and a
drum kit.

Chapter 2

REVIEW OF RELATED LITERATURE AND STUDIES

Presented here is a review of related literature and studies that support the research
problem and further show the impact and connection between the subjects of this study.

Related Literature and Studies

Participation

Youth participation in a group activity like music ensembles can be explicated

through the socio-cultural theories: ZPD by Vygotsky(1978) known as Zone of Proximal

Development, “Communities of Practice” by (Lave and Wenger,1991), and “Activity

Theory” of (Engeström, 2006). (Ryan and Deci, 2000) Self Determination Theory also

supports this, specifically through the Cognitive Evaluation Theory and Goal Content

Theory.

Viewing from the perspective of culture and history, (ZPD) is concerned with the

space in which the learning takes place and is rooted in Vygotsky’s (1997) genetic law of

cultural development. In the study (Henley, 2009), she quoted Vygotsky’s genetic law of

cultural development formulated as follows: every function in the cultural development of a

child appears on the stage twice, In two planes, first, the social (between people as inter-
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mental category), then the psychological (within the child as intramental). Thus, when we

relate it to ensembles, in the first stage, members learn and develop in the social environment

of the choir, either directly with the trainer or with peers, and second, through self-practice

incorporating learnings from the peers and trainer.

Commitment

The other significant word hand in hand with participation is the word commitment.

There are various definitions of commitment. Its meaning varies depending on what lens you

are viewing it. (Agnew, 2009) discussed different commitment theories and typologies

suggesting that commitment could be considered through behavioral, and psychological

terms or on a unidimensional or multidimensional concept of commitment. For example,

some researchers describe commitments as having cognitive, affective, and motivational

components. In contrast, others describe them distinctly as types of commitment like moral,

structural, personal, voluntary, and non-voluntary commitment.

In this study, I would emphasize commitment in terms of organizational commitment.

Music ensembles are organized groups with a functional organizational structure. (Meyer and

Allen, 1991) proposed the first model of responsibility consisting of the Three-Component

Model (TCM), namely the commitment through the following terms: Affective, continuance,

and normative. In affective commitment, members demonstrate an active “high level” of

commitment to the organization. This shows their happiness, engagement, and participative

behavior during organizational meetings or gatherings. In ensembles, members’ who decided

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to stay and extend valuable inputs could manifest their affective commitment. As for

continuance commitment of the TCM, this is when members’ affection for the group is

transformed into need. When the member feels attached (emotionally and mentally) to the

group, and there is a fear of loss considering the time and effort invested into the group, there

would be continuance in commitment. For ensemble members who are already leaving

school after graduation, they would surely miss performing considering the years invested

while they were still active members. However, there are instances where old members who

have already graduated are still happy and willing to participate in performances when they

are invited. Thirdly, normative commitment is a stage where the member feels a sense of

obligation, and staying in the organization is the right thing to do. This is common among

church choir members, since this ensemble faces more challenges than other ensembles.

Many of its old members have a normative commitment for the recruits and the members

wishing to continue staying.

Any commitment needs hard work, but the earnest desire to do what you love makes
it a labor of love (Madura Ward-Steinman, 2010).
Now participation and commitment, hand in hand, must be triggered by a whole lot of
influence. Commitment can result from the following factors: socio-cultural factors and
Personal Factors.
The sociocultural factors influencing participation and commitment to youth
community music ensembles are: religious beliefs and practices, family music culture, peer
influence, ensemble trainer attributes, and music instrument resources.

Religious beliefs and practices

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According to the study (Namaiko, 2015), it was found that with the choices of the
church member. It is entirely up to the member to decide and make music practice choices.
Traditionally if we would go back to the medieval times, or the baroque era, all music was
centered on worship purposes. In the study (Statom, 2015), he emphasizes the use of music
for worship and that instead of personal glory, it should be for God’s glory. However, the
study (Namaiko, 2015) is contradictory to the study (Statom, 2015). Namaiko’s analysis
suggests that music could be both for worshipping God and personal glory. Further, it was
found that the use of the same instruments for sacred and secular music was allowed without
conflict, and the music activities in church and school, are connected, showing the church’s
non-restrictive influence on music participation. It would be the individual’s autonomy to
either participate or not to participate, considering one’s competency following self-
determination theory.
Across all human populations globally, regardless of their religion, music serves as an
ordinary commodity used for different purposes. Despite music’s universality, some
identified sectarian groups specified what music they allowed and did not allow. According
to (Parrot, 2009), an exceptional religious reformer Abu Hamid al-Ghazali (1058-1111),
identified with definitions the seven purposes wherein music can be allowed (halal) and the
other five cases that aren’t allowed (haram). Music is only permitted if it does the following:
evoke and invoke the love of Allah, elicit love and longing for Allah in circumstances that
allow singing, playing of approved instruments, produce lamentation and sorrow – the latter
being of two kinds: a) blameworthy b) praiseworthy, arouse joy, encourage pilgrimage, and
only for those it is permissible, incite for battle, inspire courage on the day of battle.
Forbidden Music: produced by singing and dancing of men and women in taverns and other
public places, instruments used for only ‘secular’ purposes, is strictly forbidden for use
outside religious purposes, song’s contents not compatible with spiritual concepts and
precepts of religion, when it makes listener ruled by thoughts of lust and lustful actions, and
when a person listens to music for inviting sensuality for sexual reasons only.
While among Christians, music ensembles have branched out into quite several
churches. Music restrictions differ among each type of Christian group. (Melton, 2006) in his
Power and Principles of Music booklet published for the Bible Baptist Church, he strongly
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emphasized that Christians should only use or play the music that is for the purpose to glorify
God. If it does not have both characteristics, Christians must deny its use. Another Christian
group is the Seventh Day Adventists which has identified their guiding principles in enjoying
music. In the Seventh Day Adventist Article: Philosophy of Music (October 2004), these
principles were summarized. This is how and what Christian music is:
1.) “So whether you eat or drink or whatever you do, do it all for the glory of God.”–1
Corinthians 10:31,
2.) All music to perform or compose, whether sacred or secular, will glorify God
3.) It characterizes quality, balance, appropriateness, and authenticity, fostering spiritual,
psychological, social sensitivity, and our intellectual growth,
4.) Appeals to both the intellect and emotions, which impacts the body positively (wholistic).
5.) Reveals creativity in drawing quality melodies,
6.) Vocal music employs lyrics that positively stimulate intellectual abilities, emotions, and
willpower. Good lyrics are creative, content-rich, and of good composition. Focuses on the
positive and reflects moral values,
7.) Musical and lyrical elements should work together harmoniously to influence thinking
and behavior with biblical values,
8.) It maintains a reasonable balance of spiritual, intellectual, and emotional elements,
9.) Should recognize and acknowledge the contribution of different cultures in worshiping
God.

This list of music regulations could go on and on with many other Christian groups,
and I have to say though they might vary in some ways, they would all reach into one thing
in common, all music should be following the will of God and for his glory.

Family Music Culture

In the study (Pawilen, 2018), the provision of a loving and supportive family
environment and relationship, as well as the physical provision of musical instruments,
musical pieces, and other resources, helps develop the musical skills of Filipino children. The
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majority of those who excel in their music craft were due to the support of their family. Most
of them commonly do not belong to the upper class.
Parents encouraging their children to play music is shaped by family ties and their
perception that there could be ‘natural’ talent in them, especially if they play instruments and
play with their children (Reeves, 2015). Thus, participation in any music ensemble is
possible when musicality is present in the family.
Moder (2010) found several pieces of research citing parents as primary influencers
in their child’s decision to participate in any activity. Their influence even proved to be
considerably more effective than the impact of the actual school when we talk about
academic or extracurricular success (Madaus, Airasian, & Kellaghan, 1980). Parents who
allow their children to devote time and energy to activities they are good at or perceived to
have a high potential for achievement (Ericcson, Tesch-Romer & Krampe, 1993).

Peer Influence
Peer influence refers to the vigor attaching the ensemble member to friends. It
influences by the terms of the way they behave, makes choices, and make decisions in their
music ensemble. In the study (Chipo, 2015) at the Adventist University of the Philippines, he
has unveiled results from the Studies of Siebenelar (2006), Klonowski (2009), and Cook
(2013), which showed that peer influence indeed had a greater more significant impact on
students’ participation in music programs. The survey was conducted on ensemble members
and music classes. Most of them were there in either the course or ensemble as their friends
were there too.
The preference for a sense of community in favor of individuality manifests itself in
traditional Filipino music culture (de Guzman, 2020). Filipino friend like to tag along with no
questions asked, especially in music events where one of the members of the friend circle
performs. Expect, the most significant moral support you could hear among the crowd.
To attest to peer influence on music, I learned my first chords on the guitar from a
friend classmate who taught me during lunch breaks at school. This happened because we
have a classmate who brings and shares her guitar with whoever likes to borrow it. I believe
that became the spark of my music career, influenced by friends.
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Doing things with peers is another vital part embedded in a person’s development
(Bronfenbrenner, 1979; Bronfenbrenner and Morris, 2006). This research would adhere to
the facts about the phases of development in an individual with peer groups. During
adolescence, there is a developmental alteration. The involvement of peers becomes
increasingly noticeable. Engaging in shared activities with peers to practice independence
from the family can be a typical example (Steinberg & Silverberg, 1986). A considerable
amount of time and money is spent on musical activities from the early through young
adulthood stage. (Selfhout et al. 2009). A lot of these musical activities are spent with peer
group members. Which latter influence friendship foundation in adolescence (Selfhout et al.,
2009) and in early adulthood (Boer et al., 2011). At this point, it can be understood that peer
group development can be more intense. However, developmental research reveals that such
a connection does not weaken the parental one as music activities in the Family obtain more
symbolic meaning(Fiese et al., 2002).
A student’s choice to participate in an ensemble might be influenced by friends or
peer groups. Studies showed that initially, students are fascinated with musical ensembles or
athletic groups, which is based on their inner peer circle influence (Eder & Kinney, 1995;
Holland & Andre, 1995). In the study (Warnock, 2005), he explains that attraction theory is
about attraction to get lured to associate with those who have related interests. As observed
with beginning bands, there is a strong tendency to join due to the influence of students’
friends. Several studies have provided evidence of initial factors in music participation.
Among the common reasons of students for joining an ensemble is ‘wanting to be with
friends’ (Hurley, 2005), influenced by people close to the student’s life: peers and friends,
family, band director (Hoffmans’,2008), peer influence plus the self-motivation results into
joining an ensemble, leading to curiosity, and eagerness to play/sing then leads to identifying
themselves as a participant in the music ensemble and identifies themselves with a specific
instrument or role and later call themselves musicians, thus, leading to more participation
(Davidson, 1999). Friends play a part in recruiting to join an ensemble, but they could also
influence instrument choice (Bayley, 2000). As noted by (Beegle, Campbell, and Connel,
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2007), some students decide to participate in musical ensembles for direct social aspects
music-making.

Ensemble Trainer Attributes

Fucci Amato et al., 2011, proposed that the competence of choral conducting has a
broad and complex level made of four types of competencies: educational competence, vocal
competence, musical competence, and managerial competence. Such competencies apply to
other kinds of music ensembles which differs only by the nature of the principal instrument.
When these competencies are possessed by every ensemble trainer, successful learning of
ensemble members is possible. Showing the power of the choir during performances reflects
the ability of the choir director (Velasco, 2013).
When we look at the scenario of a youth’s preliminary decision in participating in
music-related groups or activities, motivation and influence of an ensemble trainer could be
examined. According to the study by (Moore, et al. 2003), to initially entice students to start
learning an instrument, they must be inspired by a teacher. Contrastingly, the study (Albert,
2006), proposed that it is not so more about the trainer that motivates and inspires a learner to
initially participate, but the process or way they used to invite students or recruit.
In the results (Vallo Jr.,1999) study, trainer attributes are grouped into three: 1)
Personal attributes, 2) Musical attributes, and 3) Pedagogical attributes. Personal attributes
ranked the first, and they are: assertiveness, commanding presence, enthusiasm, friendliness,
human understanding, integrity, organizational ability, self-confidence, and self-discipline.
Pedagogical attributes, which ranked second on trainer attributes, is the application of
rehearsal methods, and communication ability, goals and objectives, knowledge of
psychology, knowledge of evaluation methods, mastery of the subject matter, philosophy of
education, role and performance model, and utilization of resources. Musical attributes
ranked last among trainer attributes which consist of aural skills, baton technique, expressive
gestures, knowledge of music theory, knowledge of music history, knowledge of music
styles, musical modeling skills, personal musicianship, and understanding of instruments.

Resources (music instruments)

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The study (Najera, 2015) resulted in the implementation of CMSL (Community

Music Service Learning) in a selected area of Payatas, Philippines. The team of teachers and
students from the UP College of music extended various music lessons and training, bringing
musical instruments and other music resources weekly for the unprivileged youth to use and
learn. The three years period was fruitful and indeed meaningful as perceived musical
participation has surpassed their expectations. This indicates that giving free access to music
instrument resources could boost participation.
In a setting where one will be training an ensemble involving musical instruments,
scarcity of devices is the truth. The trainer’s initiative to procure devices is vital, especially in
schools or communities that do not have enough money to buy devices, even at local stores
(Fisher & Hamburg, 2001). Results of the study (Albert, 2006) revealed that 75% of
participant students from around three schools had used instruments owned by the school.
Band directors of different schools were interviewed, and the interview data revealed showed
that the “ability to procure music instruments” was crucial to their recruitment process.
(Bayley, 2000) agreed that the band director’s drive and influence to procure musical
instruments for students’ use have played a part in the recruitment process. It’s unfortunate
when students, in particular, are excluded from availing of band instruction due to not having
enough money to buy an instrument. (Turner, 2009)study, The Impact of a School Loaner-
Instrument Program on the Attitudes and Achievement of Low-Income Music Students, low-
income students demonstrate equal achievement to all other instrumental students. This fact
further implies that philanthropic organizations and school music educators could collaborate
for these students’ access to instruments and the providence of quality instruction. There
must be means to support or enhance budgets for music to ensure the providence of equality
of access to students starting music instrument study.

Another factor that influence participation and commitment to youth community

music ensembles are personal factors: music skills, interest, music enjoyment, music goals,
and self- efficacy. One must have at least any of those mentioned above to be “influenced” to
participate in any music ensemble. Otherwise, why fuss about participating?
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Personal Factors

Music Skills

These skills can come through learning from a teacher while others are born with it
(gifted). Below is the skills list from a reputable organization of music teachers. An
individual interested in participating in an ensemble is believed to have at least one skill from
the list. The Music Teachers National Association (MTNA)1876 has established the
following list of 10 desirable skills that should be taught by music educators. Read music,
perform both alone and with other musicians, hear notes, internalize rhythms, perform
technically, grasp music theory concepts, conceptualize music, play by ear and improvise,
Express the emotion, Problems solving.

Self-Interest

This stems from an inherent interest in something. The study of (Nierman and
Veak,1997) proposed that students or learners must have the “self-motivation” to start the
course of learning a musical instrument. This individual’s interest could be driven by natural
attraction or the appreciation of a witnessed result. Much of what people do in life daily is
partly ruled by their interests (Sjoberg,1983).
According to the Cognitive Evaluation Theory (CET, internal and external events

impact people’s intrinsic motivation. This intrinsic motivation refers to engagement in

activities out of enjoyment or interest rather than for the consequence or incentive attached to

the behavior (Ryan and Decci 2000). For this study, when a youth participates in an

ensemble, it could mean that they do it because it is satisfying regardless of whether there is a

reward in a form or grade or stipend or just for the music experience. However, this intrinsic

motivation to participate can be moderated. Thus, it may enhance or weaken the level of

enjoyment or interest in participation. The said internal or external forces/events are

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rewards, punishment, and interpersonal contexts like praise or criticism. Given these forces,

the youth ensemble member’s autonomy to satisfy their need for self-direction and self-

endorsement in action will be defined by their firmness to participate no matter what

happens. Their need to feel adequate and masterful (competence) in achieving desired

outcomes to do good and be developed while participating could also face external,

social/interpersonal, and internal conditions. If the use of controlling events (e.g., bribes,

demands, pressuring language), or competence underminer (e.g., through negative or

uninformative feedback), then intrinsic motivation such as interest or enjoyment will decline.

Musical Enjoyment

Researchers have characterized musical enjoyment in various ways. Musical

entertainment stems from an appropriately different musical task (Csiszentmihalyi, 1990;
Godwin, 2015a), and a reflection of sustained interest in a music activity (Crickmore,1968;
Eisentraut, 2013). Moreover, in music education, researchers outline prerequisites and
indicators of musical enjoyment. The said indicators are learner’s music preference
(Eisentraut, 2013, Leblanc et al. 1988,1999; Leblanc et al. 1996), musical identity
establishment (Godwin, 2015a, 2015b), a sense of community (Gorard and See, 2011, and
environmental conditions (Hopkins, 2008; Koops, 2017; Koops & Kuebel, 2018). But
amongst the most cited factor for musical enjoyment is student choice during musical
activities (Godwin, 2015b; Koops, 2017; Koops and Keppen. 2015; Koops & Kuebel, 2018).

Music Goals
The Goal Content Theory believes that the role of intrinsic and extrinsic values in

motivation is important as it shapes, guide, and organize specific behaviors and experiences.

Values help coordinate preferences, decisions, and actions relevant to aspirations.

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For example, a member who values performance success would select ensemble

mates who have good time management and good musician skills, which could be good

study buddies who could peer teach the musical pieces to learn for the ensemble. If an

ensemble member values the strong relationship with the choir, the said member will be

motivated to nurture lasting connections by spending a significant amount of time and

meaningful work with the group. Further, it was found that intrinsic values/aspirations are

more conducive to need fulfillment rather than extrinsic values/aspirations. Pursuing intrinsic

goals leads to greater personal satisfaction, more productivity, less anxiety, less narcissism,

and less depression than those opting to pursue financial success (Kasser and Ryan 1996).

As music learning commences and self-interest intact, the hunger for knowledge
potentially increases. Geared to a goal of finishing one music piece at a time, the researchers
further added, that according to attribution theory, tendencies of facing new tasks head-on
could be influenced by the likelihood of succeeding and the appeal of achieving it. For
students having high musical aptitude, the attraction and challenge of playing an instrument
might be because of their confidence for an excellent chance to be successful. This kind, of
inherent motivations, helps in matters of decisions to join an instrumental ensemble (Fox, et

al., 2013). Main personal drive or reasons by participants can be defined by the statements: “I
wanted to,” “I like music,” and “I wanted to learn an instrument.” Regarding social reasons,
including the influence of parents, friends, and teachers. (MacKenzie, 1999) revealed in his
study that the personal choice to play music is the primary reason, seconded by the teacher’s
influence.

Self-Efficacy

Albert Bandura, a psychologist who originally proposed the concept of self-efficacy,

defines it as a personal judgment of "how well one can execute courses of action required to
deal with prospective situations.” According to Bandura, the four primary sources of self-
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efficacy beliefs are Mastery experiences, Vicarious experiences, Verbal persuasion, and
Emotional and physiological states (Akhtar, S., Ghayas, S., & Adil, A. (2013). When one
learns a new instrument, and with a strong belief in their self-efficacy, continue to learn
despite the difficulties experienced. Like learning stringed instruments, burning sensations
are felt at the tip of the fingers. The bigger the strings, the more painful it feels. But strong-
willed learners never give up even if they bleed their fingers.
The sociocultural and personal factors discussed above could also be moderated by
the following moderating variables as: ensemble member relationship and environment,
ensemble member and repertoire, ensemble trainer teaching style, and management.
The Self Determination Theory has a broad view. The Relationship Motivation

Theory (RMT) particularly believes that all human beings have the need to be cared for, and

individuals nurture relationships among those who value them and are sensitive to their

wants and needs. Each of the basic psychological needs, namely autonomy, competence, and

relatedness, contributes uniquely to relationship outcomes like relationship quality, security

of attachment, conflict management, and overall well-being (Deci and Ryan 2014; Patrick et

al. 2007; La Guardia and Patrick 2008).

In the case of a participative role in the ensemble, when the member feels that their

role is being valued amidst ensemble crisis and conflicts that have been professionally

managed and resolved, such a situation strengthens ensemble relationship quality, therefore

would give hope for more unity and success to the group in the future.

When individuals persist in entering a relationship for personal autonomous reasons,

they tend to believe that being in such a relationship is meaningful and vital rather than

controlled reasons. This would yield greater relationship satisfaction, better daily working

relationship, and greater overall well-being (Deci and Ryan 2014). Further, when individuals

are motivated autonomously to become part of a social group (e.g., Biker’s Club, Zumba
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Club, Rondalla Club, Glee Club, etc.), they would experience a more positive group identity.

(Amiot and Sansfacon 2011).

Chapter 3

METHODOLOGY

This study examined the following factors socio-cultural, personal, and external
climates/ events, which influence youth participation in music ensembles of the community.
The study yearned to understand existing relationships among the variables. Moreover, to
determine if one of the variables could significantly influence participation and commitment
in music ensembles of the community. Thus, to efficiently address the existing problems, this
chapter presents details and descriptions of the tools and techniques used in the study.
Contents of this chapter include the setting of the research, research design, respondents and
sampling procedure, research tools, validity and reliability of the tools, research protocol,
data gathering procedure, and statistical techniques.

Research Setting
The study was conducted at the colleges of Central Mindanao University, Musuan,
Maramag, Bukidnon. Presently, the university has nine different colleges academically
staffed by more than 500 teachers with a student population of more than 12,000 students and
growing each year. They are committed to producing quality graduates as supported by the
four pillars of the university functions: research, instruction, extension, and production.
Students do not only excel academically but holistically. Each college has its sociocultural
society helping students develop and showcase their skills and talents in arts and music.
Thus, different music ensembles exist within the colleges, making a perfect avenue for
students to showcase their musical talents and relieve from their daily academic stress.
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Usually, for students to get into these ensemble groups, they must pass the screening
audition, and once accepted, they are expected to be of service to their college by way of
sharing or presenting their skills and talents during formal or nonformal college events.
Being such, these music ensembles should be the front-liners of entertainment. In the case of
university-wide programs held in a much larger venue like the university convention center
or the university sports complex, these music ensembles are also being tapped to perform as
representatives of their respective colleges. In a casual conversation with some members of
the different choirs of colleges, it was found that members of these ensembles, however
carefully selected, do not guarantee they’re staying on with the group until graduation. Some
members leave their costumes unexpectedly, making the ensemble population fall each
semester and rise again after the recruitment stage by the following year.

Research Design
The present study implemented the descriptive correlational and causal research
design. Descriptive because it provides a systematic observation to describe specific behavior
for the present study, factors influencing participation and commitment to youth community
music ensembles were determined using this design. Correlational design research involves
the systematically investigating the nature of relationships, or associations between and
among variables. Relationships of variables such as sociocultural factors, personal factors,
and moderating variables were tested utilizing this design. Further, the causal research design
was used in determining the nature of the relationship between variables and understanding
which of the identified variables, such as factors on moderating variables, sociocultural, and
personal characteristics, best predict participation and commitment.

Respondents and Sampling Procedure

A pilot study of student participants was purposively sampled from different
university colleges. They were contacted through text, call, messenger, and email to answer
the questionnaire. These respondents are students who passed the screening audition and
have rendered services through their musical talents in their respective colleges for the past
two years.
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Table 1.
Sample Size of Participants
College Ensemble member Sample
population (active in past 2years)
College of Agriculture 10 9
College of Arts and Sciences 20 16
College of Education 30 28
 CMU Laboratory High School 20 10
College of Engineering 10 4
College of Business and Management 10 8
College of Veterinary Medicine 10 5
College of Human Ecology 10 6
College of Nursing 10 10
College of Forestry and Environmental Science 10 4

Research Instruments
The data-generating instruments are questionnaires. This study is a quantitative study
using self-constructed closed-ended questions with adaptations and modifications from
related research.

Table 2.
Components of the Research Instrument
Variables Item number Number of Items
Part I- Demographic Profile 7 7
Part II- Participation Questions 6 6
Commitment Questions 4 4
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Part III – Moderating Variables Questions 3 15

Part IV- Sociocultural Factors 5 42
Part V – Personal Factors 4 29
Total: 29 103

Likert-type scale responses were used to rate the extent to which participants feel
about each item as follows: Strongly Disagree, Disagree, Neutral, Agree, Strongly Agree.
This was used throughout the survey, which consists of 103 things that could approximately
be completed in 15-20 minutes.

Table 3.
Likert Scale Responses and Interpretations used in this study
Score Description Interpretation
5 Strongly Agree I am extremely convinced with the statement
4 Agree I am convinced with the statement
3 Neutral I am doubtful with the statement
2 Disagree I am not convinced with the statement
1 Strongly Disagree I am not extremely convinced with the statement
__________________________________________________________________________

Validity and Reliability of the Instruments

The self-constructed and adapted quantitative questionnaires are quantified through
Content Validation Ratio (CVR). Through this, the experts specified whether an item is
necessary for operating a construct in a set of things or not. Further, they are requested to
score each item from 1 to 3 with a three-degree range of not necessary, helpful but not
essential, and essential, respectively. The content validity ratio varies between 1 and -1. The
higher score indicates further agreement of panel members on the necessity of an item in an
instrument. The formula for content validity ratio is CVR=(N e - N/2)/(N/2), in which the
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Ne is the number of panelists indicating "essential" and N is the total number of panelists.
The numeric value of the content validity ratio is determined by Lawshe Table.
Reliability was attained after exposing the instrument to a pilot test with respondents
different from the target sample (Kimberlin & Winterstein, 2008).
The pilot study was done at a different state university. The said university is
Bukidnon State University, having the same music ensemble groups in their colleges and
their university’s socio-cultural society.

Research Protocol

The researcher secured permission both on the pilot study stage and final data-
gathering stage through communication via email with an attachment of an endorsed letter
from the Dean of the College of Arts and Sciences of Liceo de Cagayan University,
Philippines. After permission was granted by both Presidents of the State Universities, the
study was conducted.

Data Gathering Procedure

The following process was done to collect the data. The questionnaire was first
subjected to validation by music experts. These experts comprise tests of reliability with
experts. The validation panel consists of one Master of Music degree holder pianist who is a
music teacher as well and have worked in several Asian countries like Brunei, Singapore, and
Dubai. Another expert consulted for validation was a choir director in Iligan City, Mr. Denis
Alo. Both experts examined, corrected, and validated the data-gathering instrument.
Before the data gathering, well-endorsed letters by the college dean of Liceo de
Cagayan University seeking authorization to conduct both the pilot study and final data
gathering in the two-state universities identified were presented. Data was collected after
approval from the two-state university presidents.
Questionnaires for both the Pilot test and the Final were made available online
(through google forms).

Statistical Techniques
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Quantitative research methods through electronic survey questionnaires, and

purposive sampling techniques were preferred for this study due to the following details. An
electronic type questionnaire like the google forms survey was easier to disseminate and
most practical to use for data gathering during the COVID19 pandemic. In consideration of
the situation of the respondents who confined themselves to their own homes for health
security reasons.
Quantitative data gathering could be obtained by assigning numbers to
responses and subject to statistical analysis. This were also sought as more convenient
method. But it also has disadvantages like the deficiencies of in-depth findings, which may
be caused by biases in constructing the questions. Which could mean that choices only come
from the researcher’s point of view. Purposive sampling is also a robust sampling method in
this research, knowing that the selected respondents should be accurate representation of a
particular population considered as part of the study. Hence, this sampling allows the
researcher’s generalization of findings as a representation of all members.
All data gathered were analyzed through the following: data collected for problems
number one to four (1 to 4) were analyzed through descriptive statistics, data collected for
problem number five (5) was analyzed through correlation, and data collected for problem
number six (6) was subjected to regression analysis.
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Chapter 4
PRESENTATION, ANALYSIS, AND INTERPRETATION OF DATA

This study was participated by various student ensemble members of the different
colleges of Central Mindanao University.
Furthermore, this chapter presents and discusses all results of the conduct of this
study concerning its aims, which is to find out which factors best influence participation and
commitment to youth community music ensembles.
There are two sections of the independent variables with sub-variables for each. First,
the Socio-cultural factors variable with its sub-variables: religious beliefs and practices,
family music culture, peer influence, ensemble trainer attributes, and resources (music
instruments). Second, the Personal factors with the sub-variables: music skills, interest,
enjoyment, music goals, and self-efficacy. External events, forces, and climates are used as
moderating variables to determine how these could reconcile the extrinsic motivators
(sociocultural factors) and intrinsic factors (personal factors).
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Problem1. What is the level of influence of sociological factors on participant respondents?

Table 4.
Participant respondent’s level of influence by Sociocultural factors
_______________________________________________________________________________________________________________________________________________________________________________________________________________________________

Factor N Mean Std. Deviation Level of Influence

Interpretation
Religious beliefs and 100 High
3.89 0.72
practices
Family music culture 100 3.90 0.80 High
Peer influence 100 4.02 0.74 High
Ensemble Trainer Attributes 100 4.53 0.64 Very High
Resources (Music instruments) 100 3.76 1.19 High
Overall 4.02 0.82 High
Legend:
Range Descriptive Rating Qualitative Interpretation

4.50-5.00 Very High Very High level of influence

3.50-4.49 High High level of influence
2.50-3.49 Moderate Moderate level of influence
1.50-2.49 Low Low level of influence
1.00-1.49 Very Low Very Low level of influence

Table 4 on Ensemble Trainer Attributes shows a “very high” level of

influence with a mean of 4.53, compared to the other factors with a “high” level of power
ranked from highest to lowest order: Peer influence (4.021), Family music culture (3.902),
Religious beliefs and practices (3.892), and Resources (3.76). The very high level of
influence by ensemble trainer attributes conforms with the study (Vallo, Jr 1999), classifying
the ensemble trainer attributes into personal qualities, music attributes, and pedagogical
attributes. Personal qualities ranked the greatest influence, followed by pedagogical details
and music attributes. An overall mean of 4.021 for sociocultural factors indicates a high level
of impact on the participation and commitment of participant respondents. As for peer
influence, rated with a high level of power, this was already seen in the study (Namaiko,
2015) at the Adventist University of the Philippines. He quoted studies by Siebenelar (2006),
Klonowski (2009), and Cook (2013) to have shown peer influence has more considerable
influence on students’ involvement in music programs. Most of the surveyed students
belonged to various ensembles and music classes due to the reason that their friends were
also there. (de Guzman, 2020) also showed in his study the preference for a sense of
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community in favor of individuality manifests itself in traditional Filipino music culture.

Filipino friend likes to tag along with no questions asked.

Problem 2. What is the level of influence of personal factors on participant

respondents?
Table 5.
Respondent’s level of influence by Personal factor
Factor N Mean Std. Deviation Level of Influence
Interpretation
Music skills 100 3.15 .80 Moderate
Interest/Enjoyment 100 3.88 .75 High
Music goals 100 3.81 .93 High
Self efficacy 100 4.13 .68 High
AVE 3.74 0.79 High
Legend:
Range Descriptive Rating Qualitative Interpretation

4.50-5.00 Very High Very High level of influence

3.50-4.49 High High level of influence
2.50-3.49 Moderate Moderate level of influence
1.50-2.49 Low Low level of influence
1.00-1.49 Very Low Very Low level of influence

In Table 5, respondents’ levels of influence by personal factors are ranked. First, self-
efficacy with a mean of 4.13; secondly, Interest/Enjoyment (3.88); thirdly, Music goals
(3.81); and lastly, Music skills showed a moderate level of influence with a mean of 3.15. It
is not surprising to see self-efficacy ranking top among personal factors. According to
Bandura, self-efficacy is a subjective judgment of “how well one can execute courses of
action required to deal with prospective situations.” And ensemble members with a high level
of self-efficacy must be well equipped with the necessary traits needed to join an ensemble.
When you have self-efficacy, followed by interest/enjoyment, music goals are easily
achieved, and music skills are maintained or enhanced. Overall, personal factors had a mean
of 3.744, indicating a high level of influence on participation among participant respondents.

Problem 3. What are the external events, forces, and climates that moderate the
intrinsic and extrinsic motivators?
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Table 6.
Respondentss level of influence by external forces, events, and climates to intrinsic
motivators (personal factors), and extrinsic motivators (socio-cultural factors)

Factor N Mean Std. Deviation Interpretation

Ensemble member relationship 100 4.62 .50 Very High
and environment
Ensemble member and 100 4.27 .62 High
repertoire
Ensemble Trainor teaching 100 4.45 .57 High
style/management
AVE 4.44 .56 High
Legend:
Range Descriptive Rating Qualitative Interpretation

4.50-5.00 Very High Very High level of influence

3.50-4.49 High High level of influence
2.50-3.49 Moderate Moderate level of influence
1.50-2.49 Low Low level of influence
1.00-1.49 Very Low Very Low level of influence

Table 6 Respondent’s level of power by external circumstances, details, and

temperatures to intrinsic motivators (individual factors), and extrinsic motivators (socio-

cultural factors), showed ensemble member relationship and environment factor at a very

high level of influence with a mean of 4.62. While ensemble Trainor teaching

style/management factor showed a “high level of influence” at a mean of 4.45, the ensemble

member and repertoire factor also offered a “high level of influence” at a mean of 4.2. These

results can be explained by the sociocultural theories: first, the ZPD, which concerns the

space in which learning takes place – that’s the ensemble environment. Second, the genetic

law of cultural development, where every function in the cultural development of a child,

appears on the stage twice. First, between people –the ensemble member relationship, and

within the child. Results of ensemble teaching management as a high level of influence may
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be understood through the study of (Wenger et al., 2002) . The study said: “Communities of

practice are groups of people who share a concern, a set of problems, or a passion about a

topic, and who deepen their knowledge and expertise in this area by interacting on an

ongoing basis.” All these described practices are present in all types of ensembles and can be

organized through ensemble teaching style/management. That is why the result showed its

strong influence.

Ensemble members and repertoire also showed a high level of influence on

sociocultural and personal factors. The ensemble member and repertoire (the set of music

pieces the ensemble learns) will be justified by the activity theory developed by Engestroms

(1987, 1990, 1993, 2005, and 2007). At the core of activity theory is Vygotsky's concept of

mediation, that people use tools to carry out an activity. Thus, in all music ensembles

members, and trainers utilize the music pieces and musical instruments as a tool to learn their

distinctive ensemble music pieces.

Problem 4. What is the level of participation and commitment of participants?

Table 7.
Respondent’s level of participation

Interest/Enjoyment Factor Mean Std. Deviation Interpretation

1. I find enjoyment in playing with a group 4.57 .782 Very High
2. I like to occupy my free time 4.09 .900 High
3. Being with the ensemble gives me sense 4.41 .805 High
of belongingness
4. All of my friends are in the ensemble 3.22 1.177 Moderate
5. The ensemble gives me a lot of exposure 4.30 .882 High
Opportunities
6. Being with the ensemble allows me to 4.45 .657 High
put into practice the music theories
learned
Liceo de Cagayan University School of Graduate Studies Page 1

AVE 4.17 .567 High

Legend:
Range Descriptive Rating Qualitative Interpretation

4.50-5.00 Very High Very High level of participation

3.50-4.49 High High level of participation
2.50-3.49 Moderate Moderate level of participation
1.50-2.49 Low Low level of participation
1.00-1.49 Very Low Very Low level of participation

Table 7. Respondent’s level of participation showed the factor ‘I find enjoyment in

playing with a group’ at a “very high level” of participation. This explains that most
respondents must have enjoyed playing with a group. The other four (4) factors showed a
“high level” of participation shown in order of highest to lowest mean values: Being with the
ensemble allows me to put into practice the music theories learned (4.45), Being with the
ensemble gives me a sense of belongingness (4.41), The ensemble provides me a lot of
exposure opportunities (4.30), and I like to occupy my free time (4.09). A single factor
showing a “moderate level” of participation is the factor - All of my friends are in the
ensemble, with a mean of 3.22. To sum up, the overall standard of 4.17 indicates a high level
of participation among participant respondents.

Table 8.
Respondent’s level of commitment

Commitment to past/current ensemble Mean Std. Deviation Interpretation

1. How committed are you to your ensemble? 4.23 .827 High
2. To what extent do you care about your 4.32 .790 High
ensemble?
3. How dedicated are you to your ensemble? 4.24 .818 High
4. To what extent have you chosen to be 5.0 .000 Very High
committed to your ensemble
AVE 4.447 .5392 Very High
Legend:
Array Descrition Commitment

4.50-5.00 Very High Very High level of commitment

3.50-4.49 High High level of commitment
2.50-3.49 Moderate Moderate level of commitment
1.50-2.49 Low Low level of commitment
1.00-1.49 Very Low Very Low level of commitment

Table 8. summarizes the commitment level of the respondents. A “very high level” of
commitment is shown in the respondent’s responses to the question “To what extent have
you chosen to be committed to your ensemble?” having a mean of 5.0. As the question “To
what extent do you care about your ensemble?” showed a standard of 4.32 or a “high level”
Liceo de Cagayan University School of Graduate Studies Page 1

of commitment, the commitment question “How committed and dedicated are you to your
ensemble?” offered a “high level” of commitment with a mean of 4.23 and 4.24 respectively.

Problem 5. Is there a significant relationship between the dependent and independent

variables?

Table 9.
Significance of the relationship between participation and commitment to socio-cultural and
personal factors

Influencers Participation and Interpretation

commitment
Religious beliefs and Practices .203*
(.043) Very weak correlation
Family Music Culture .358**
(0) No Correlation
Peer Influence .450**
(0) No Correlation
Ensemble Trainer Attribute1 .309**
(Trainer Personal attributes) (.002) Very weak correlation
Ensemble Trainer Attribute2 .366**
(Trainer Pedagogical attributes) (0) No Correlation
Ensemble Trainer Attribute3 .328**
(Trainer Musical attributes) 0.001 Very weak correlation
Resources .004 Strong Correlation
(.97)
Music Skills .257**
Liceo de Cagayan University School of Graduate Studies Page 1

(.01) Very weak correlation

Music Interest/Enjoyment .315**
(.001) Very weak correlation
Music Goals .355**
(0) No Correlation
Self Efficacy .486**
(0) No Correlation
Ensemble member relationship and .545**
environment (0) No Correlation
Ensemble member and repertoire .433**
(0) No Correlation
Ensemble Trainor teaching .574**
style/management (0) No Correlation

Table 9 Significance of the relationship between participation and commitment to

socio-cultural and personal factors showed that among 14 factors tested for correlation, eight
(8) factors showed no correlation. Among those factors are 1) Family music culture, 2) peer
influence, 3) Ensemble Trainer Attribute 2 (Trainer Pedagogical Attributes), 4) Music goals, 5)
Self Efficacy, 6) Ensemble-member relationship and environment, 7) ensemble member and
repertoire, and 8) Ensemble trainer teaching style and management. The other factors
showing significant but fragile correlation values are 1) Religious beliefs and practices at
(.043), 2) Ensemble Trainer Attribute1(Trainer Personal attributes) at .002, 3) Ensemble
Trainer Attribute3(Trainer Musical attributes) at .001, 4) Music skills at .01, and 5)Music
Interest/Enjoyment at .001. The only variable which showed a strong correlation is the
Resources.

Problem 6. Which among the variables best predicts participation and commitment?

Table 10.
Significance of the influencers (Socio-cultural and Personal factors) to participation and
commitment

Influencers Participation and Commitment

B Beta t Sig.
Religious beliefs and Practices -.031 -.050 -.524 .602
Family Music Culture .127 .054 2.338 .022
Peer Influence .041 .067 .613 .542
Ensemble Trainer Attribute1 -.078 -.112 -.628 .531
(Trainer Personal attributes)
Ensemble Trainer Attribute2 -.064 .154 -.415 .679
(Trainer Pedagogical attributes)
Ensemble Trainer Attribute3 .163 .239 1.813 .073
(Trainer Musical attributes)
Resources -.021 -.056 -.653 .516
Music Skills .031 .055 .588 .588
Music Interest/Enjoyment -.115 -.192 -1.802 .075
Music Goals .104 .213 2.035 .045
Liceo de Cagayan University School of Graduate Studies Page 1

Self Efficacy .054 .082 .703 .484

Ensemble member relationship .166 .185 1.475 .144
and environment
Ensemble member and repertoire .112 .154 1.590 .116
Ensemble Trainor teaching .279 .355 3.491 .001
style/management
R= .744 F= 7.520
R2= .553 P= .000
As summarized in Table 10, there are only three factors seen to best predict
participation and commitment. These are as follows: Family music culture at .022 or p<.05
significance, Music goals at .045 or p<.05 significance, and Ensemble Trainor teaching
style/management at .001 or p<.01 significance.

Chapter 5
SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

Summary
This study was preliminarily conducted as a pilot study at Bukidnon State University,
Malaybalay City, Bukidnon, in January 2021. The final data gathering was conducted at
Central Mindanao University, Musuan, Maramag, Bukidnon, from February to March 2021.
Due to the COVID-19 pandemic and consequent compliance to health safety
protocols, the needed information was obtained through an online survey only. The
descriptive correlational and causal research design was employed. Purposive sampling of
respondents was used to ensure that only students who were part of ensembles would fill up
the survey. One hundred (100) ensemble member respondents studying from nine (9)
colleges in Central Mindanao University were invited to fill up the survey questionnaires to
get respondents’ respective responses from their own experiences in their types of ensemble.
Liceo de Cagayan University School of Graduate Studies Page 1

The data analysis results showed that the sociocultural factors such as
religious beliefs and practices, family music culture, peer influence, and resources had a
“high level of influence” on participation and commitment. In contrast, ensemble trainer
attributes had a “very high level of influence” on involvement and commitment. According
to Varvarigou & Durrant (2011), an effective ensemble trainer possesses a developed: 1)
philosophical and pedagogical awareness, 2) musical and technical skills, and 3)
interpersonal and leadership skills. These fully developed attributes of an ensemble trainer
guarantee strengthened influence on the participation and commitment of members. Hence, it
showed in the results, that the ensemble trainer attributes have a very high level of impact.
The majority of the personal factors showed “strong influence.” However,
Self
Efficacy ranked the greatest significant influence on participation and commitment at the
mean of 4.13. One reason for showing the most substantial impact could be supported by the
study of (Meece & Painter 2012; Schunk, 1995), stating students with higher self-efficacy
engage in tasks for a more extended period while also investing in activities that they believe
will produce learning. Interest/enjoyment and music goal factor showed “strong influence”
while music skills showed “moderate influence” on participation and commitment.
The external events, factors, and climates that are perceived to moderate the
independent variables, the ensemble member relationship, and environment factor showed
“powerful influence” and the two other elements with “strong influence.” This indicates that
participation and commitment would work best with a good relationship and environment in
the ensemble.
The study also found a “high level” of participation among the respondents
while their level of commitment is “very high.” This further indicates that the respondents’
desire to do what they love is makes it a labor of love (Madura Ward-Steinman, 2010).
It was also found that resources had a strong correlation with participation and
commitment. At the same time, religious beliefs and practices, trainer personal and musical
attributes, music skills, and music interest/enjoyment showed a very weak correlation. The
other eight (8) factors showed no correlation at all.
Liceo de Cagayan University School of Graduate Studies Page 1

Amongst all, the factors that best predict participation and commitment are
ensemble trainer teaching style, and management, family music culture and music goals.

Conclusions and Recommendations

The purpose of this research is to identify the factors influencing participation
and commitment to community music ensembles. Based on the analysis conveyed, it can be
concluded that: 1) both level of influence of sociological factors and personal factors on
participant respondents is High. This further indicates the significant relationship of
participant respondents to the independent variables, 3) the external events, forces, and
climates that moderate the intrinsic and extrinsic motivators are the following ranked from
highest to lowest moderator: ensemble member relationship and environment, ensemble
Trainor teaching style/management and, ensemble member and repertoire 4) there is a high
level of participation and commitment among participants, 5) There is a significant
relationship between the dependent and independent variables, and 6) the variable that best
predicts involvement and dedication is ensemble Trainor teaching style/management.
This study, therefore, rejects the null hypotheses. The result “high level” of
participation and “very high” level of commitment indicates a significant relationship to
sociocultural and personal factors. The answers to several questions this study seeks gives
several implications to parents, ensemble trainers, school administrators, LGUs, and Funding
agencies. The following recommendations hope to boost parents’ support for their children as
members of ensembles, ensemble trainer attributes, ensemble quality performance outputs,
public music appreciation, and music-cultural preservation for the following generation.
1. Strong support from parents is encouraged. The results of this study show that.
Family music culture ranked second-best predictor to participation and commitment to
ensembles. In the study (Moder, 2010), several researchers cited parents as primary
influencers in their child’s decision to participate in any activity. Parents were allowing their
children to spend energy and time on doing sought to have a high possibility for achievement
(Ericson, et al. 1990). Without the significant support from parents, Ensemble participation
would not be fruitful. Therefore, parents are encouraged to show utmost support to their
children joining the ensembles.
Liceo de Cagayan University School of Graduate Studies Page 1

2. As this study highlighted, Ensemble trainer attributes have a “very strong”

Influence. On participation and commitment of ensemble members, this implies that for any
music ensemble trainer to acquire the necessary attributes of an influential trainer, they must
continuously seek professional growth by attending seminars, workshops, and training at
least yearly.
3. The result of this study also shows an ensemble trainer teaching style and
management. As the best predictor for participation and commitment to music ensembles,
therefore, it is the administration’s lookout to approve all possible professional growth
opportunities for its designated ensemble trainer to help the trainer acquire and maintain the
necessary, updated knowledge vital to the ensemble.
4. The Pearson Correlation between Sociocultural, Personal factors, and
Participation
and commitment showed resources (in the form of musical instruments) to be very strongly
correlated with participation and commitment. This also strongly implies that if there are
only enough devices for everyone, a very high level of involvement and dedication will be
achieved.
Furthermore, this study recommends that the ensemble organizers tie-up or ask for
support from LGUs and other funding agencies to fund the ensemble’s needs, particularly the
instruments. The LGUs may forge MOA with SUCs(State Universities and Colleges) having
costumes for mutual interests and benefits.
Further research on the following is recommended
1. The Impact of School Administration Support on School Music Ensemble’s
Needs.
2. Make this study a reference to research studies on existing music ensembles with
Funding from LGUs and other funding sources.
3. Conduct comparative research on the ensemble outputs of funded ensembles and
ensemble outputs of self-supporting ensembles.
Liceo de Cagayan University School of Graduate Studies Page 1

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APPENDICES

APPENDIX A

LICEO DE CAGAYAN UNIVERSITY

SCHOOL OF EDUCATION
Graduate School

INFORMED CONSENT FORM FOR MUSIC ENSEMBLE MEMBERS

Name of Principal Investigator: Ann K. Maniego

Contact Number: 09675873969

Name of Project and Version: FACTORS INFLUENCING PARTICIPATION AND COMMITMENT TO

YOUTH COMMUNITY MUSIC ENSEMBLES

PART I: INFORMATION SHEET

INTRODUCTION
You are hereby invited to participate in a research study conducted by the above-mentioned name of Principal
Investigator at Liceo de Cagayan University, your participation is voluntary. You should read the information
below and ask questions about anything you do not understand, before deciding whether or not to participate.
Please take as much time as you need to read the consent form. You will be asked to fill up the goggle form
survey. You will be given a link to the form.

GOAL OF THE RESEARCH

This study aims to look into the factors influencing participation and commitment to youth
community music ensembles. Through this study, it is hoped to find if there is any, significant
influence on participation and comment by the aspects of sociocultural factors, personal factors and
external events or climates.

TYPE OF RESEARCH INTERVENTION

Should you decide to participate in this study, you will be asked to answer questions about reasons for
participation in ensemble, questions about ensemble commitment, ensemble environment and relationship,
sociocultural and personal music related questionnaires. These questionnaires will examine and measure the
level of influence of sociological and personal factors, the level of participation and commitment of participant
respondents, and the relationships of the variables as well as predict which variable best predicts participation
and commitment in ensembles.
Liceo de Cagayan University School of Graduate Studies Page 1

PARTICIPANT SELECTION
You are chosen to take part in the study along with the other participants who are also members of different
ensembles in the University taking into consideration that you would represent truly the respondents needed in
this study

PARTICIPANT VOLUNTARY DECISION

You can make choice to take part or not take part in this survey. There will be no negative impact nor rewards
on your current ensemble membership should you take part or not in the survey. The decision is yours to make.

PROCEDURES
A. This study is about the factors influencing participation and commitment to youth community
music ensembles. This aims find significance in the relationship among all variables in the study.
B. You will answer the five (4) categories of the questionnaire. 1)Participation and Commitment
questionnaire, 2)External Climates/Events Questionnaire, 3)Sociocultural context questionnaire,
and 4)Personal context questionnaire. The 10 survey items of Participation and Commitment
questionnaire, 15 survey items of the External climates or events, 42 survey items for
sociocultural factors questionnaire and 29 survey items for personal factors questionnaires are all
in the form of short sentences using a 5-point Likert scale with a qualitative interpretation such as
“Strongly agree”, “Agree”, “neutral”, “disagree” and “strongly disagree” excluding the music
skill level questions under personal factor questions which used a 4-point Likert scale having
qualitative interpretation as ‘Not applicable’, ‘Beginner’, ‘Intermediate’ and ‘Advance’. The
questionnaire consists of five composite scales which are different dimension/variables interplay
to ensemble participation and commitment. In answering the survey questionnaires, the researcher
will assure the confidentiality and anonymity in the recording of the information and responses.
DURATION
It will take you 10-15 minutes to complete the questionnaire. This will be done online through google forms at
your convenient time.
RISKS
This study represents low physical risk as participants will only be required to read and click choices
to complete the survey. The survey question also does not address personal topics that are likely to
cause negative emotional reactions. The Survey results and scores will not be released by the
researcher in a way which would identify you. It will not, in any way, affect your studies, work and
ensemble performance. The time commitment to complete the survey is very short. Thus, I believe
this to be a minimal risk study. There is no possible risk identified for you in this study.

BENEFITS
There is no guarantee that you will get benefit from taking part in this study. However, upon knowing the
results of the survey, you will get a better understanding of participation and commitment to music ensembles
as an ensemble member. Your willingness to take part, may in the future, help society as a whole better
understand this research topic and the effect of participation and commitment to music ensembles.
Liceo de Cagayan University School of Graduate Studies Page 1

CONFIDENTIALITY
The records of this study will be kept private. Participants will not be identified in any publications that result
from this study. All information collected about you will be kept strictly confidential. Confidentiality, privacy
and anonymity will be ensured in the collection, storage and publication of research material. The data
generated in the course of the research will be kept securely in electronic form for a period of ten (10) years
after the completion of a research project.

SHARING THE RESULTS

You will be informed on the results of this study, and it will be shared on venues that would help
make the results appropriately presented. The copy of the manuscript will also be provided and will
be made available at the main campus libraries. Further, the results and finding of this study will
also be disseminated during the university’s Re-orienting the Academics which take place every first
week of July and whose audience are all the members of the faculty of the university.

RIGHT TO REFUSE OR WITHDRAW

You can freely choose to take part in this survey and as much as possible your participation should NOT be
influenced by the researcher’s position and should NOT feel be threatened should you decided NOT to join as
it will not be taken against them. There will be no penalty or loss of benefits for either decision. If you agree to
participate, you may stop at any time.

WHO TO CONTACT:
For more information, you may contact Dr. Edgar C. Romero, Director, Human Resource and Development
Center, Liceo de Cagayan University, Cagayan de Oro City

PART II: CERTIFICATE OF CONSENT

By signing this consent form, I confirm that I read and understood the information and have had the
opportunity to ask questions about it and any questions I have been asked have been answered to my
satisfaction. I understand that my participation is voluntary and that I am free to withdraw at any time,
without giving a reason and without cost. I consent voluntarily to be a participant in this study.
Print Name of Participant: ________________________________________
Signature of Participant: ________________________________________
Date: [MM/DD/YYYY] ______________________

STATEMENT BY THE RESEARCHER OR PERSON TAKING CONSENT

I have accurately read out the information sheet to the potential participant, and to the best of
my ability made sure that the participant understands that the following will be done:
1. Answering of the survey questionnaires as the participant of the study.
2. The Privacy and confidentiality of the proceeding activities in the conduct of the study will
be maintain and protected.
Liceo de Cagayan University School of Graduate Studies Page 1

3. Keeping and destroying of the data responses, recording and transcript as specified in the
study protocol.
I confirm that the participant was given an opportunity to ask questions about the study, and all
the questions asked by the participant have been answered correctly and to the best of my ability.
I confirm that the individual has not been coerced into giving consent, and the consent has been
given freely and voluntarily.

A copy of this Informed Consent Form has been provided to the participant.

Print Name of Researcher or person taking the consent

Ann K. Maniego
Signature of Researcher or person taking the consent

Date: 05/05/2021
Liceo de Cagayan University School of Graduate Studies Page 1

APPENDIX B
LETTER OF APPROVAL
Liceo de Cagayan University School of Graduate Studies Page 1
Liceo de Cagayan University School of Graduate Studies Page 1
Liceo de Cagayan University School of Graduate Studies Page 1

APPENDIX C
SURVEY

This survey questionnaire is intended for the study entitled: Factors influencing participation
and commitment to youth community music ensembles. Since your participation is voluntary, all
information obtained shall be kept confidentially. It is hoped that you answer the survey
truthfuly.
.

Part I. Demographic Data (Pls shade the info that applies)

1. Age
[1] 12 years old and below
[2] 13-15 years old
[3] 15 to 19 years old
[4] 20 years old and above

2. Gender [1 ] Male [2] Female

3. Type of Music Ensemble you belong

[1 ] Stage Band [ 2] Choir [3 ] Band and Lyre [ 4] String Group [5} others

4. Religion
a. Religious affiliation
[1 ] Christian [ 2] Muslim [3 ] Buddhist [ 4] Hindu [5} others

b. Denominational affiliation
[1 ] Catholic [ 2] Seventh Day Adventist [3 ] Iglesia ni Cristo [ 4] Jehova’s
Witness

[5] Mormons [6] Pentecostal [7]others [8] baptist

5. Family Monthly Income

[1 ] 15,000 and below
[2 ] 16,000-20,000
[ 3] 20,000-25,000
[4 ] 25,000 and above
6. Source of Income
[1 ] Business
[2 ] Farming
[3 ] Salary from Company
[4 ] Government Salary
[5 ] Others
Liceo de Cagayan University School of Graduate Studies Page 1

Part II.

Statements below measure ensemble participation and commitment in accordance to the belief
postulated by the SDT (Self Determination Theory and its mini theories). Please read them
carefully and answer by placing a check mark (√) that best describe the level of influence of your
participation in your current ensemble.

Reasons for participating in your Strongly Disagree Neutral Agree Strongly

current ensemble Disagre Agree
e
Intrinsic
1. I am driven by my interest
2. I find enjoyment in playing with
a Group
3. I like to occupy my free time
4. Being with the ensemble gives
me sense of Belongingness
5. I used to be an admirer of
ensembles, now I’m in one
(sense of pride)
Extrinsic
6. All of my friends are in the
ensemble
7. The ensemble gives me a lot of
exposure opportunities on and
off campus
8. I believe that with the ensemble,
my skills would be more
developed
9. I feel that I am better playing
with a group than alone.
10. Being with the ensemble allows
me to enjoy allowances with
free jacket each year.
11. Being with the ensemble allows
me to put into practice the
music theories learned before
Commitment to current ensemble Strongly Disagree Neutral Agree Strongly
Disagre Agree
e
12. How committed are you to your
ensemble ?
13. To what extent do you care about
your current ensemble?
14. How dedicated are you to your
current ensemble?
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15. To what extent have you chosen

to be committed to your current
ensemble?
Ensemble repertoire, relationship Strongly Disagree Neutral Agree Strongly
and social environment Disagre Agree
e
16. I care about other members of
the ensemble by helping when they
encountered technical difficulties
17. I always seek guidance from
experienced members when I
encounter difficulty in performing
18. I welcome corrections and
made sure I do it right the next time
I don’t like it when somebody
corrects me
19. A good ensemble repertoire
excites and motivates me to
practice
20. I easily get bored with an
unfamiliar repertoire
21. I like to come on time as our
rehearsal starts on time
22. I’m motivated to practice ahead
my parts, trying not to be the center
of attention for my mistakes
23. I usually like to volunteer when
the director needs a hand
You and the ensemble repertoire
24.I am serious at learning the
repertoire by taking notes of what
our director says about parts and
symbols in a piece
25. I like to record the director
singing the parts, for my personal
reference during my practices alone
26. I like to record the ensemble
performance to hear how we sound
27. I’m fond of recording my own
part so I could listen to myself and
improve each time
28. I get frustrated when I have a
mediocre performance
29. I do get lost on my part
sometimes when performance
anxiety strikes
Liceo de Cagayan University School of Graduate Studies Page 1

Ensemble Director Strongly Disagree Neutral Agree Strongly

Disagree Agree

30. The director strictly follows rehearsal

schedules
31. The director have a good sense of
command and authority
32.The director carefully choses
repertoire that fits our age and vocal
range
33. The director enhances our strengths
and develops our weakness
34. The director gives as ample time for
preparations, warm ups, and breaks
35. The director deals with crisis,
conflicts and misbehaviors
professionally
36. The director gives us private
consultation time when we have issues

Part III. Socio Cultural Context

The statements on this section measure ensemble participation in terms of the level influence of
sociocultural factors. Please tick (√) the level of influence to your participation in your current
ensemble.

Level of Influence
Sociocultural Factors Strongly Disagree Neutral Agree Strongly
Disagree Agree
Religious beliefs and practices
(adapted from (Namaiko, 2015)
1. The teachings in my church does not restrict us to
Listen, or play any form of music
2. Performing traditional dances at home are allowed
by the teachings of my church
3. Performing traditional dances at school are allowed
by the teachings of my church
4. My church clarifies that dances aren’t ungodly and
evil
5. My church sees nothing bad with learning and
singing secular music
6. Music related activities at my church are always
sacred and secular nature
7. My church approves loud instruments like
electric guitars and drums to be used in church
and school
8. My church approves my involvement in performing
sacred and secular songs.
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9. Teachings in my church did not influence My

taking part into music activities at school

10. My church preaches that there is dual purpose of

music: to worship God and for personal honor
11. The music instruments taught at school are
permitted by my church
12. Participation in secular music and dance either does
not affect our church membership
Family Music Culture Strongly Disagree Neutral Agree Strongly
(adapted from Namaiko, 2015) Disagree Agree
1. My family watches music shows and
concerts together
2. We have members of the family that sings
3. We have members of my family play music
instruments
4. Our family enjoys listening to music
5. Our family owns music instruments
6. We sing a lot together in family
7. My family and I plays music together
8. My homework in music are assisted by my
family members help

Peer Influence Strongly Disagree Neutral Agree Strongly

(adapted from Namaiko, 2015) Disagree Agree
1. Opinion of my friends regarding music study
is valued
2. Me and my friends spends a lot of music
listening time
3. Music we listen to are selected and suggested
by my friends .
4. My friends and I play music instruments .
5. I remark music as a career to my friends
6. Music books or videos are shared to me by
my friends.
7. I am complimented as good and talented in
music by my friends
8. My friends and I go to concerts and music
festivals/shows together.
9. When I am having a music performace my
friends are always there to support me.

Ensemble Trainer Attributes Strongly Disagree Neutral Agree Strongly

(adapted from the study of Vallo Jr, 1999) Disagree Agree
I like to learn with a trainer that possess
a. Personal Attributes
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a.1. assertiveness
a.2. commanding presence
a.3. enthusiasm
a.4. friendliness
a.5. understanding
a.6. integrity
a.7. organizational ability
a.8. self confidence
a.9. self discipline
b. Pedagogical Attributes
b.1. application of rehearsal methods
b.2. communication ability
b.3. goals and objectives
b.4. knowledge of psychology
b.5. knowledge of evaluation methods
b.6. mastery of the subject matter
b.7. philosophy of education
b.8. role and performance model
b.9. utilization of resources
c. Musical Attributes
c.1. aural skills
c.2. baton technique
c.3. expressive gestures
c.4. knowledge of music theory
c.5. knowledge of music history
c.6. knowledge of music styles
c.7. musical modelling skills
c.8. personal musicianship
c.9. understanding instruments.
Resources (Music instruments, etc) Strongly Disagree Neutral Agree Strongly
Disagree Agree
1. My current ensemble have all the
instruments provided for us
2. My current ensemble have some
instruments provided for us
3. My current ensemble have few
instruments provided for us
4. My current ensemble have no
instruments provided for us
5. We bring our personal instruments to
the ensemble
6. Our instruments were from donations

IV. Personal setting

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Below are questions meant to measure participation in terms of level of influence of personal
factors. Please read them carefully and answer by placing a check mark (√) that best describe the
level of influence to your participation in your current ensemble.

Please check Music skills you have and the mastery level.
Skills in Singing/Playing Not Slightly Moderately Quite Extremely
at all a bit
Singing
Guitar
Piano
Flute
Recorder
Ukulele
Violin
Rondalla Instrument/s:
Drums
Others: (Pls Specify)
My music interest/s

Singing Solo
Singing in a small voice ensemble
Singing in a Choir
Listening to Music
Watching music concerts
Watching Broadway musicals
Playing a solo instrument
Playing in a band
Composing
Recording Music
Others

Strongly Disagree Neutral Agree Strongly

Disagree Agree
Goals

To be a well developed:
Professional singer
Singer in a small voice ensemble
Singer in a Choir
Music observer
solo instrument player
Band player
Composer
Music recordist
Others
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Self Efficacy Strongly Disagree Neutral Agre Strongly

Disagree e Agree
1. I have had positive experiences performing music in the
past
2. I have improved my music performance skills by
watching professional musicians perform well.
3. My friends think I am a good performer on my primary
instrument/voice.
4. I have had positive experiences performing in large
ensembles (more than 11 performers)
5. I have improved my music performance skills by
watching someone I know perform well (parent, brother,
sister, church member, etc,).
6. I have had positive experiences performing music solo.
7. Members of my family believe I perform well.
8. I have had positive experiences performing simple music.
9. People have told me that my practice efforts have
improved my performance skills.
10. I have had positive experiences performing complicated
music.
11. I have used other music students as models to improve
my performance skills.
12. I have overcome musical challenges through hard work
and practice.
13. I have received positive feedback on music performance
evaluations.
14. I have used a practice routine to help me prepare for my
performances.
15. I am learning, or have learned, to control my
nervousness during a performance.
16. I have had positive experiences performing music in a
small ensemble (2-10 performers).
17. Performing with instrument/voice makes me feel good.
18. I have watched other students with similar music ability
as me perform a music assessed my self if I could perform
the same.
19. I do not worry about making small mistakes during a
performance.
20. I have compared my performance skills with those of
other students who are similar in musical ability to me.
21. My music teacher has complimented me on my musical
performance.
22. I have met or exceeded other people’s expectations of
being a good musician for someone my age.
23. I enjoy participating in musical performances.
24. I have positive memories of most, or all, of my past
music performances.
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APPENDIX D
PARTICIPANT RESPONDENT’S DEMOGRAPHIC PROFILE

A. AGE OF PARTICIPANT RESPONDENTS

AGE FREQUENCY PERCENT

15-19 years old 27 27
20 years old and above 73 73
Total 100 100

C. B. GENDER OF PARTICIPANT RESPONDENTS

GENDER FREQUENCY PERCENT
Male 39 39
Female 61 61
Total 100 100

ENSEMBLE TYPES OF PARTICIPANT RESPONDENTS

Ensemble Type FREQUENCY PERCENT

Stage band 13 13
Choir 42 42
Band and Lyre 13 13
String Group 16 16
Others 16 16
Total 100 100
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D. COLLEGE UNIT OF THE RESPONDENTS

CMU Colleges FREQUENCY PERCENT

College of Arts and Sciences 16 16
College of Agriculture 9 9
College of Business and Management 8 8
College of Education 38 38
College of Engineering 4 4
College of Forestry and Environmental 4 4
Science
College of Human Ecology 6 6
College of Nursing 10 10
College of Veterinary Medicine 5 5
Total 100 100

E. RELIGION DENOMINATION OF RESPONDENTS

Religion denomination FREQUENCY PERCENT

Catholic 69 69
Seventh Day Adventist 8 8
Iglesia ni Cristo 4 4
Pentecostal 6 6
Baptist 13 13
Total 100 100

F. FAMILY MONTHLY INCOME OF RESPONDENTS

Family Monthly Income FREQUENCY PERCENT
15,000 and below 33 33
16,000 to 20,000 21 21
20,000 to 25,000 13 13
25,000 and above 33 33
Total 100 100

G. FAMILY SOURCE OF INCOME OF RESPONDENTS

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Ensemble Type FREQUENCY PERCENT

Business 18 18
Farming 12 12
Salary from Company 18 18
Government Salary 35 35
Others 17 17
Total 100 100
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APPENDIX E
CURRICULUM VITAE

Name : ANN KIAMCO MANIEGO

Address : Purok 13, Musuan, Dologon,
Maramag, Bukidnon
Email Address : akmaniego@gmail.com
ORCID Number : 0000-0002-0800-1070
Name of Father : Engr. Isidro Delos Santos Kiamco
Name of Mother : Dr. Anelda S. Kiamco

School Graduated
Elementary : Quezon S.D.A. Elementary School
High School : Nuestra Senora del Pilar High School
College : Lourdes College

Membership:
Member, Philippine Society for Music Education (PSME)
Member, Philippine Choral Directors Association (PCDA)
Member, Philippine Association for Teachers & Educators (PAFTE), Inc
Member, National Council for Physical Educators of the Philippines (NCPEP) Inc.
Member, International Organization in Sports, Health and Kinesiology
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Member, Gamma Beta Sigma Fraternity and Sorority

Member, Central Mindanao University Faculty Association, Inc.